Painters From The United States

"I paint from the top down. From the sky, then the mountains, then the hills, then the houses, then the cattle, and then the people."

"A primitive artist is an amateur whose work sells."

"If I hadn't started painting, I would have raised chickens."

"I have written my life in small sketches, a little today, a little yesterday, as I have thought of it, as I remember all the things from childhood on through the years, good ones, and unpleasant ones, that is how they come out and that is how we have to take them. I look back on my life like a good day's work, it was done and I am satisfied with it. I was happy and contented, I knew nothing better and made the best out of what life offered. And life is what we make it, always has been, always will be."

"The death of Grandma Moses removed a beloved figure from American life. The directness and vividness of her paintings restored a primitive freshness to our perception of the American scene. Both her work and her life helped our nation renew its pioneer heritage and recall its roots in the countryside and on the frontier. All Americans mourn her loss."

"Just because you are lucky does not mean you make good choices."

"You have a moral obligation to finish the job you said you would do."

"Adapt and overcome."

"A lot of people can forget about you in Los Angeles."

"There's no excuse to be bored. Sad, yes. Angry, yes. Depressed, yes. Crazy, yes. But there's no excuse for boredom, ever."

"Action is man's free will right, but the reaction is nature's."

"The sole purpose of man on earth is to manifest his Creator. He has no other purpose."

"[Beauty is] "Perfection of rhythm, balanced perfection of rhythm. Everything in Nature is expressed by rhythmic waves of light. Every thought and action is a light-wave of thought and action. If one interprets the God within one, one’s thoughts and actions must be balanced rhythmic waves. Ugliness, fears, failures and diseases arise from unbalanced thoughts and actions. Therefore think beauty always if one desire vitality of body and happiness.""

"All men will come to me in due time, but theirs is the agony of awaiting."

"Equal interchange of goods and service between buyer and seller is the keynote of tomorrow’s business world when the vision of the modern business man awakens him to the wisdom of writing that policy into his code of ethics."

"I will see beauty and goodness in all things. From all that is unlovely shall my vision be immune."

"Successful men of all the ages have learned to multiply themselves by gathering thought energy into a high potential and using it in the direction of the purpose intended. Every successful man or great genius has three particular qualities in common. The most conspicuous of these is that their minds grow more brilliant as they grow older, instead of less brilliant. Great men’s lives begin at forty, where the mediocre man’s life ends. The genius remains an ever-flowing fountain of creative achievement until the very last breath he draws. The geniuses have learned how to gather thought energy together to use for transforming their conceptions into material forms. The thinking of creative and successful men is never exerted in any direction other that that intended. That is why great men produce a prodigious amount of work, seemingly without effort and without fatigue. The amount of work such men leave to posterity is amazing. When one considers such men of our times as Edison, Henry Ford or Theodore Roosevelt, one will find the three characteristics I have mentioned common to every one of them."

""Joy and happiness are the indicators of balance in a human machine, just as a change in the familiar hum in a mechanism immediately indicates an abnormalcy to the practiced ear of the mechanic. An inner joyousness, amounting to ecstasy, is the normal condition of the genius mind. Any lack of that joyousness develops body-destroying toxins. That inner ecstasy of the mind is the secret fountain of perpetual youth and strength in any man. He who finds it finds omnipotence and omniscience."

"I have found out that the real essentials of greatness in men are not written in books, nor can they be found in the schools, They are written into the inner consciousness of everyone who intensely searches for perfection in creative achievement and are understandable to such men only."

"Tiredness and fatigue are effects caused by ignorance of Nature and disobedience to her inexorable law. You may command Nature to the extent only in which you are willing to obey her. You cannot intelligently obey that which you do not comprehend. Ask of Nature that you may be one with her and she will whisper her secrets to you to the extent in which you are prepared to listen. Seek to be alone much to commune with Nature and be thus inspired by her mighty whisperings within your consciousness. Nature is a most jealous god, for she will not whisper her inspiring revelations to you unless you are absolutely alone with her."

"The future of great business lies in man’s comprehension of the principle of Balance in Natural Law and his determination to work WITH it instead of against it."

""The underlying principle of Balance in Nature’s One Law is equality of interchange between the pairs of opposites in any transaction in Nature. That principle must eventually be observed by big business, and the go-getter salesman who selfishly thinks that the sale he makes is the only thing that counts is not giving equally for what he takes."

"There is a strong and conscious relationship between my work and nature which finally manifests itself in an impersonal expression."

"Movement is the translation of life, and if art depicts life, movement should come into art, since we are only aware of living because it moves."

"About a hundred and ninety-four feet away from our house [Gorky was born in Armenia] on the road to the spring, my father had a little garden with a few apple trees which had retired from giving fruit. There was a ground constantly in shade where grew incalculable amounts of wild carrots, and porcupines had made their nests. There was a blue rock half buried in the black earth with a few patches of moss placed here and there like fallen clouds. But from where came all the shadows in constant battle like the lancers of w:Paolo Ucello's painting? This garden was identified as the Garden of Wish Fulfilment and often I had seen my mother and other village women opening their bosoms and taking out their soft breasts in their hands to rub them on the rock. Above this all stood an enormous tree all bleached under the sun, the rain, the cold, and deprived of leaves. This was the Holy Tree. I myself don't know why this tree was holy but I had witnessed many people, whoever did pass by, that would tear voluntarily a strip of their clothes and attach this to the tree. Thus through many years of the same ac, like a veritable parade of banners under the pressure of wind all these personal inscriptions of signatures, very softly to my innocent ear used to give echo to the sh-h—h-sh—h of silver leaves of the poplars."

"..poor art for poor people [his critic on social realism art in America]"

"The treasure of the eye is elsewhere! Most artists are still for tuning around the hands of the clock.. ..without having the slightest concern for the spring hidden in the opaque case. The eye-spring.. ..Arshile Gorky – for me the first painter to whom the secret have been completely revealed."

"You know how fussy and particular I am in painting. I am ever removing the paint and repainting the spot until I am completely exhausted."

"I like the heat the tenderness the edible the lusciousness the song of a single person the bathtub full of water to bathe myself beneath the water.. ..I like the wheat-fields the plough the apricots those flirts of the sun. But bread above all. (1942)"

"Truly the eye was.. ..made to cast a lineament, a conducting wire between the most heterogeneous things. Such a wire, of maximum ductility, should allow us to understand, in a minimum of time, the relationship which connect, without possible discharge of continuity, innumerable physical and mental structures. The key [of the mental prison] lies in a free unlimited pay of analogies.. ..one can admire today a canvas signed by Gorky, 'The liver is the Cock's Comb', which should be considered the great open door to the analogy world."

"I was with Cézanne for a long time, and now naturally I am with Picasso"

"That's the way beauty is found, by accident [referring to the Glass house he lived in, with the family]. You don't recognize it when you are looking for it, and you won't find it by looking in a magazine. It's right here in the moon, the stars, the horizon, the snow formations.. .In this house we can see all those things. But what I miss are the songs in the fields. No one sings them any more because everyone has become a little businessman. And there are no more plows. I love a plow more than anything else on a farm."

"When I feel tired and discouraged and I lie down on the sofa, then I think of the simplest thing I can – a piece of string – and I go in it and paint it. That's the way to keep painting – to create something inside that makes you want to recreate it."

"It would be a sad thing for an artist if he knew how to paint. – so sad. An artist paints because it is a challenge to him – it is like trying to twist the devil. If you overcome it, there is no sport left. I don't even like to talk about painting. It is impossible to talk about painting because I don't know what it is. If I knew what it was I would get out a patent and then no one else would be able to paint."

"The oldest girl [his daughter Maro, four and a half years old] did this. She paints like a little bird. And this, the young one [Natasha, two and a half] did. See, she paints on both sides of the canvas. She is more like a passionate plumber. I wish I could paint as freely as they do. There is a gravity of playfulness in their work. If they could only keep it – but they will lose it as they grow older."

"Delacroix spoke of the Greek coin being built from the center out. Vermeer has painted in this way, according to the principles of mass.. .How beautifully they are drawn – Vermeer does not just make a leaf and place it in the design, he relates space and leaf. [in the painting of Vermeer: 'Allegory on the New Testament']. That drapery – it is abstract – observe how this shape [a space between a shepherd and the tree] curves around the center space while the tree counter-curves opposite it, cutting an egg shape.. ..the spaces on the carpet that carry no figuration are, in fact, shapes of vital importance in building the whole.."

"The stuff of thought is the seed of the artist. Dreams form the bristles of the artist's brush. As the eye functions as the brain's sentry, I communicate my innermost perceptions through the art, my worldview."

"In short it is my concern to emphasize that Gorky is, of all the surrealist artists, the only one who maintains direct contact with nature – sit down to paint before her. Furthermore, it is out of the question that he would take the expression of this nature as an end in itself – rightly he demands of her that she provide sensations that can serve as springboards for both knowledge and pleasure in fathoming certain profound states of mind.. .Here for the first time nature is treated as a cryptogram. The artist has a code by reason of his own sensitive anterior impressions, and can decode nature to reveal the very rhythm of life, in the discovery of the very rhythm of life."

"Yes, Johannes Vermeer [Dutch 17th century master painter] paints in thin layers – there is no waste effort – and those small dots – no, they are not like Seurat's, though they contain all the light the pointillist may have wished for, concentrated, hovering before the object, but not obliterating it.. .Vermeer is not a sun painter, but rather a moon-painter – like Uccello – that's good, it is the pure, final stage of art, the moment when it becomes more real than reality."

"I don't like that word 'finish'. When something is finished, that means it's dead, doesn't it? I believe in everlastingness. I never finish a painting – I just stop working on it for a while. I like painting because it's something I never come to the end of. Sometimes I paint a picture, then I paint it all out. Sometimes I'm working on fifteen or twenty pictures at the same time. I do that because I want to – because I like to change my mind so often. The thing to do is always to keep starting to paint, never finishing painting. [quote of 1948]"

"Dear Dorothy, my biography is very short [asked for by the MOMA].. ..I was born in Tiflis, Caucacus, South Russia, October 25th, 1904 and after the usual studies I came to America in 1920. I had been painting steadily since I was seven and continued to do so during my three and a half years at Brown University where I studied engineering. In 1925 I came to New York and taught at the Grand Central Art School for seven years. I have been living and working ever since in New York."

"I love Mougouch [Gorky's wife]. What about papa Cézanne.. .I like the wheat fields the plough the apricots those flirts of the sun. And bread above all. My lever is such with the purple.. .About 194 feet away from our house [In Armenia] on the road to the spring my father had a little garden with a few apple trees which had retired from giving fruit.. .This garden was identified as the 'Garden of Wish Fulfillment' and often I had seen my mother and other village women opening their bosoms and taking their soft and dependable breasts in their hands to rub them on the rocks. Above all this stood an enormous tree all bleached under the sun the rain the cold and deprived of leaves. This was the Holy Tree.. [quote in 1942]"

"The Persian art is great, I feel compelled to tell you this my Mouguch [pet name for his wife], because it pleases me so much. I adore those sick and lovely Persian – civilization which reveals there ancient custom's to me, which is deeply impregnated with my own."

"It is true – is it not – that even Ingres [French classical painter, famous for his line] had to revise – yes, the surface of the painting is smooth, finished and incorruptible as a diamond, but under the accomplished surface are pentimenti – see there at the shoulder, how the line of the black dress was lowered qua fraction and the hand was extended to give greater elegance.. .Are these not signs of the patient revision that even a genius has to make."

"I like the heat the tenderness the edible the lusciousness the song of a single person the bathtub full of water to bathe myself beneath the water. I like Ucello, Grunewald, Ingres, the drawings and sketches for paintings of Seurat and that man [=Pablo Picasso ]. I measure all things by weight."

"[speaking about a Persian rug...] how modern their conception of space was! They understood it in the seventeenth century; we are only just beginning to re-understand it in the twentieth – see how they mesh the vines, the tendrils, the flowers with space and utilize these linked forms to create wholeness and radiance."

"the vital task was a wedding of Abstraction and Surrealism. Out of these opposites something new could emerge, and Gorky's work is a part of the evidence that this is true. What he felt, I suppose, was a sense of polarity, not of dichotomy; that opposites could exist simultaneously within a body, within a painting or within an entire art.. .These are the opposites poles in his work. Logic and irrationality; violence and gentleness; happiness and sadness, surrealism and abstraction. Out of these elements I think [Arshile] Gorky evolved his style."

"I remember watching a painter, Gorky, work over an area edge probably a hundred times to reach an infinite without changing the rest of the picture, following Graham's recount of the import put in Paris on the 'edge of paint.' We [New York artist in Abstract expressionism all grasped on everything new, and despite the atmosphere of New York worked on everything but our own identities."

"Kline frequently spoke of a painting as a 'situation', and of the first strokes of paint on canvas as 'the beginning of the situation'. When painting, he said, he tried to rid his mind of everything else and 'attack it completely from that situation'. The real criterion was the feeling a given work conveyed: 'The final test of a painting, theirs [that of artists he admired, such as w:Daumier, mine, or any other, is: does the painter's emotion come across?'"

"Franz Kline was a squat, muscular man with powerful arms, a thin mustache and expressive, sloping eyebrows gathered at the center of his forehead. 'Painters seldom spoke to each other about art,' my father [ Philip Guston ] said; but once, in an easy and light bar conversation, Kline offered this: 'The real thing about creating is to have the capacity to be embarrassed.' And he [Kline] gave one of the better definitions of painting: 'Painting,' Franz said, 'is like hand-stuffing a mattress.'"